Class 11 Fine Art Notes Chapter 4 (Chapter 4) – An Introduction to Indian Art Part-I Book

Detailed Notes with MCQs of Chapter 4: Post-Mauryan Trends in Indian Art and Architecture. This period, roughly from the 2nd century BCE onwards, is crucial as it witnesses the decline of a large empire (the Mauryas) and the rise of regional powers like the Shungas, Kanvas, Kushanas, and Satavahanas. This political decentralisation led to the flourishing of distinct regional art styles. We see continuity in some forms like stupa construction but also significant developments, especially in sculpture and rock-cut architecture.

Here are the detailed notes for your government exam preparation:

Chapter 4: Post-Mauryan Trends in Indian Art and Architecture (c. 200 BCE - 300 CE)

I. Introduction:

• Context: Decline of Mauryan Empire; Rise of regional dynasties: Shungas & Kanvas (North), Kushanas (North-West), Satavahanas (Deccan), Ikshvakus (Andhra).
• Patronage: Shift from primarily royal (Mauryan) to wider patronage including guilds (shrenis), merchants, artisans, monks, nuns, and common devotees. Inscriptions often record these donations.
• Dominant Religions: Buddhism remained a major inspiration, but Brahmanical Hinduism and Jainism also saw significant artistic development.
• Key Developments: Evolution of Stupa architecture, flourishing of Rock-cut caves (Chaityas & Viharas), emergence of distinct sculptural schools (Gandhara, Mathura, Amaravati).

II. Stupa Architecture - Evolution and Key Sites:

• Stupas became larger and more elaborate than during the Mauryan period.
• Key Components: Anda (hemispherical dome), Harmika (square railing on top), Chhatravali (umbrella/parasol structure), Medhi (circular terrace), Vedika (fence/railing), Torana (gateway).
• Bharhut Stupa (Madhya Pradesh):
  • Patronage: Likely Shunga period (c. 2nd century BCE).
  • Material: Red Sandstone.
  • Features: Known primarily for its surviving railings (Vedika) and one gateway (Torana), now mostly in the Indian Museum, Kolkata.
  • Sculptures: Characterised by shallow/low relief, linearity, depiction of Jataka stories (narrative panels), Yakshas and Yakshis (e.g., Chulakoka Devta, Sirima Devta), nature motifs (lotus). Figures often appear somewhat flat or archaic. Inscriptions often label the scenes or figures. Buddha represented symbolically (e.g., empty throne, footprints, Bodhi tree).
• Sanchi Stupa (Madhya Pradesh):
  • Continuity: Original brick stupa built by Ashoka (Mauryan), enlarged during Shunga period, stone railings and elaborate Toranas added later (Satavahana influence visible, c. 1st century BCE/CE).
  • Stupa-1 (Great Stupa): Most famous. The four Toranas (gateways) are masterpieces of narrative sculpture.
  • Torana Carvings: Deep relief, complex compositions, depict Jataka tales, scenes from Buddha's life (symbolic representation), historical events (Ashoka's visit to Bodh Gaya), Shalbhanjikas (graceful female figures holding tree branches), animals, floral motifs. Shows advancement over Bharhut in terms of depth and composition. Continuous narration technique used.
  • Stupa-2: Railing has simpler carvings, possibly earlier than Stupa-1 Toranas.
  • Stupa-3: Contained relics of Sariputta and Mahamoggallana (disciples of Buddha).
• Amaravati Stupa (Andhra Pradesh):
  • Location: Guntur district, Andhra Pradesh (Vengi region).
  • Patronage: Satavahanas, later Ikshvakus (flourished c. 2nd century BCE - 3rd century CE).
  • Material: Distinctive greenish-white Limestone/Marble.
  • Features: Known as Mahachaitya. Largely dismantled; sculptural slabs now in museums (Chennai, British Museum). Characterised by highly dynamic, slender figures, complex overlapping compositions, intense emotionalism, and intricate narrative panels covering the dome (anda) and railing (vedika).
  • Sculptural Style: Shows evolution from symbolic representation to anthropomorphic Buddha images. Figures are elegant, show movement ('tribhanga' pose common). Considered a distinct school of art (Amaravati/Vengi School).
• Nagarjunakonda (Andhra Pradesh):
  • Patronage: Ikshvakus (successors to Satavahanas in the region).
  • Features: Continued the Amaravati style. Site had numerous stupas, monasteries, and even Brahmanical temples. Shows sophisticated planning.

III. Rock-Cut Architecture (Western Deccan):

• Location: Sahyadri range, Maharashtra.
• Patronage: Primarily Satavahanas, also guilds, merchants etc.
• Purpose: Primarily Buddhist monastic establishments.
• Types:
  • Chaitya: Prayer/Assembly hall, apsidal plan, vaulted roof, row of pillars dividing central nave from aisles, stupa at the apse end for circumambulation. Facades often elaborate.
  • Vihara: Monastery/Dwelling place for monks, typically a central hall with small cells cut into the walls.
• Key Sites:
  • Bhaja Caves (near Pune): Early phase (c. 2nd-1st century BCE). Simple Chaitya (Cave 12) with wooden beams originally fitted into the rock-cut vault. Viharas are also simple. Notable sculpture of 'Surya' (or Indra?) on a chariot and 'Indra' (or Surya?) on an elephant.
  • Karle Caves (near Lonavala): Largest and most magnificent Chaitya hall (c. 1st century CE). Grand facade, large sun window (horseshoe arch), intricately carved pillar capitals (with human/animal figures), wooden umbrella structure originally over the stupa. Inscriptions mention donors, including Yavanas (people of Greek origin).
  • Ajanta Caves (Aurangabad): Early phase (Hinayana, c. 2nd BCE - 1st CE) includes Chaityas (Caves 9, 10) and Viharas (Caves 12, 13). Cave 10 is large and early, Cave 9 is smaller. These early caves have some surviving paintings, precursors to the famous Gupta-Vakataka period murals.
  • Nasik (Pandavleni) Caves: Mix of Chaityas and Viharas, notable for inscriptions detailing Satavahana rulers (Gautamiputra Satakarni, Vashishtiputra Pulumavi) and donations.
  • Junnar, Kanheri (near Mumbai): Other extensive sites with numerous caves.

IV. Schools of Sculpture:

• Gandhara School:
  • Region: North-West Frontier Province, Punjab, Afghanistan (area influenced by Indo-Greeks, Shakas, Kushanas).
  • Patronage: Primarily Kushanas.
  • Period: c. 1st century CE - 4th/5th century CE.
  • Material: Blue-grey Schist, Stucco, Terracotta.
  • Influence: Strong Greco-Roman (Hellenistic) influence.
  • Subject: Primarily Buddhist - Buddha and Bodhisattva images, scenes from Buddha's life.
  • Features: Realistic depiction of human form, anatomical accuracy, defined muscles, wavy/curly hair (Apollo-like), urna (dot between eyebrows), ushnisha (protuberance on head, often covered with hair), elaborate drapery with sharp folds (like Roman toga), serene and calm expression. Often called Greco-Buddhist art.
• Mathura School:
  • Region: Mathura (Uttar Pradesh), a major trade centre.
  • Patronage: Primarily Kushanas.
  • Period: c. 1st century CE - 3rd century CE (flourished).
  • Material: Spotted Red Sandstone (local).
  • Influence: Indigenous traditions (e.g., Yaksha figures of Mauryan/Shunga period).
  • Subject: Diverse - Buddhist (Buddha/Bodhisattva), Jain (Tirthankaras, Ayagapatas), Brahmanical (Hindu deities like Vishnu, Shiva), Yakshas/Yakshis, portraits of rulers (e.g., headless Kanishka statue).
  • Features: Indigenous style, robust and fleshy figures, energetic posture, often smiling face. Buddha images: Shaven head or short snail-shell curls, urna, ushnisha, right hand often in abhaya mudra (fearlessness gesture), transparent drapery revealing the body, often seated in padmasana (lotus posture), elaborate halo (prabhamandala) often decorated with motifs. Credited with producing the first indigenous images of the Buddha.
• Amaravati School (Vengi): (Already discussed under Stupas, focusing on sculptural style)
  • Region: Andhra Pradesh (Krishna-Godavari delta).
  • Patronage: Satavahanas, Ikshvakus.
  • Period: c. 200 BCE - 300 CE.
  • Material: White-Greenish Limestone/Marble.
  • Features: Dynamic movement and energy, slender and elongated figures, graceful postures (often Tribhanga - three bends), complex compositions with multiple figures, intense emotional expression, narrative focus. Both symbolic and anthropomorphic depictions of Buddha evolved. Highly sophisticated modelling.

V. Terracotta Art:

• Continued to be a popular medium for common people.
• Used for figurines, toys, plaques, decorative tiles.
• Found widely across sites from this period.

VI. Significance:

• Transition from Mauryan imperial art to diverse regional styles.
• Development and crystallisation of Buddha iconography (anthropomorphic form).
• Flourishing of narrative art (Jatakas, life scenes).
• Mastery in rock-cut architecture techniques.
• Reflection of diverse patronage patterns.
• Interaction between indigenous and foreign (Hellenistic) art traditions.

Multiple Choice Questions (MCQs):

1. The distinctive greenish-white marble was predominantly used in which Post-Mauryan art school/site?
   a) Gandhara
   b) Mathura
   c) Sanchi
   d) Amaravati

2. Which sculptural school is known for its strong Greco-Roman influence and use of blue-grey schist?
   a) Mathura School
   b) Amaravati School
   c) Gandhara School
   d) Sarnath School

3. The large Chaitya hall at Karle, known for its magnificent facade and pillar capitals, was primarily patronised during the rule of which dynasty?
   a) Mauryas
   b) Shungas
   c) Satavahanas
   d) Kushanas

4. Which of the following sites is famous for its four elaborately carved Toranas depicting Jataka tales and scenes from Buddha's life in deep relief?
   a) Bharhut
   b) Sanchi (Stupa 1)
   c) Amaravati
   d) Nagarjunakonda

5. The Mathura School of Art, known for using spotted red sandstone, is credited with:
   a) Primarily producing Jain Tirthankara images.
   b) Developing the first indigenous images of the Buddha.
   c) Being heavily influenced by Persian art.
   d) Exclusively using symbolic representations of the Buddha.

6. In Buddhist rock-cut architecture of Western Deccan, what was the primary function of a 'Vihara'?
   a) Congregational worship hall
   b) Residential quarters for monks
   c) A burial mound containing relics
   d) A ceremonial gateway

7. Sculptures from Bharhut are generally characterized by:
   a) High relief and dynamic movement.
   b) Greco-Roman facial features.
   c) Shallow relief, linearity, and labelled narrative panels.
   d) Use of white marble and complex compositions.

8. The headless statue of Emperor Kanishka is a famous example belonging to which school of art?
   a) Gandhara School
   b) Amaravati School
   c) Sarnath School
   d) Mathura School

9. Yakshas and Yakshis, nature deities assimilated into Buddhist art, are prominently depicted on the railings of which early stupa site?
   a) Sarnath
   b) Karle
   c) Bharhut
   d) Ajanta

10. Which of the following is NOT a characteristic feature typically associated with the Gandhara Buddha images?
    a) Wavy or curly hair
    b) Robe covering both shoulders with sharp folds
    c) Robust, fleshy body with visible energy
    d) Calm, meditative expression

Answer Key:

1. d) Amaravati
2. c) Gandhara School
3. c) Satavahanas
4. b) Sanchi (Stupa 1)
5. b) Developing the first indigenous images of the Buddha.
6. b) Residential quarters for monks
7. c) Shallow relief, linearity, and labelled narrative panels.
8. d) Mathura School
9. c) Bharhut
10. c) Robust, fleshy body with visible energy (This is more characteristic of the Mathura school)

Study these notes carefully. Understanding the distinct features of each site and school, their locations, patronage, and materials is key for your exams. Good luck!